[NEohioPAL] Berko review: DAMN YANKEES @ Porthouse

[Roy Berko]

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 DAMN YANKEES…an enjoyable evening of escapist theatre at Porthouse



Roy Berko

(Member, American Theatre Critics Association, Cleveland Critics Circle)





Probably the golden age of musical theatre in the US was from 1950 to 1960.
Great scripts like King and I, My Fair Lady, and West Side Story were
staged.  Also produced were such flops as Salad Days, Zuleika, Ankles Away,
The Vamp, ShaNgri-La, Shinbone Alley, and Free As Air.   Most shows were of
the neither great nor flop variety.  These included the likes of Call Me
Madam, Guys and Dolls, Paint Your Wagon, Can-Can, Wonderful Town,
Fanny, andThe Pajama Game.
  Also included in the list was DAMN YANKEES, now on stage at Porthouse
Theatre.



With a book by George Abbott and Douglass Wallop, and music and lyrics by
Richard Adler and Jerry Ross, it is a modern retelling of the Faust legend
which takes place in the 1950s in Washington, DC.   It’s an escapist piece
that makes no attempt to make a philosophical point nor give a snapshot of
the real world.



The story concerns Joe Boyd, a long suffering fan of the Washington
Senators’ baseball team.  He fantasizes that the Senators will beat the
hated New York Yankees.  He also has a secret desire to be an all-star who
plays for his favorite team.  As the saying goes, “be careful what you wish
for.”



The devil, in the form of red-sock-wearing, horned-headed Mr. Applegate,
mysteriously appears to offer Boyd a chance for his desires to come true.  The
only hitch is that Joe has to give his soul to the devil when the season
ends.  Boyd, in desperation, agrees.



As the Senators’ fortunes soar, Joe realizes he’s losing his beloved
wife (*Goodbye
Old Girl*) and looks for a loophole.  Enter temptress Lola (*Whatever Lola
Wants, Lola Gets)*, a charter member of the Home Wreckers Hall of Fame who
surprisingly turns out to be his ally.  What will happen?  Will the devil
prevail?  Come on now, this is a musical comedy.



The show’s track to success was not easy.  The 1955 Broadway opening was
met with mixed, mostly negative reviews.  The next day the writing team got
together, cut one number, switched another from the second act to the
first, cut twenty minutes of dialogue, and rewrote the ending.  The changes
went in that very evening.  An invitation to the reviewers brought them
back to the theatre and garnered much more positive comments.  This was
enough to make the show a modest 1019 production run.  By comparison, MY
FAIR LADY’s original Big Apple run was 2717 showings.



DAMN YANKEES is a good script choice for the Porthouse audience who tends
to like folksy musicals, with lots of dancing and fantasy.   They do not
tend to be the NEXT TO NORMAL, RENT or SPRING AWAKENING crowd.  Give them
patter, humor and happy endings and they seem content to stand and cheer
the final curtain.



The production, under the sprightly direction of Terri Kent, moves along
quickly, has dynamic production numbers, and pleases.  Kent is fortunate to
have MaryAnn Black and Eric van Baars, Kent State faculty members and
Porthouse favorites, to cast.



Black, who defies age, high kicks, struts her stuff, and wiggles her fanny
with the best of them.  While contemporaries, the likes of  Gwen Verdon,
who played the role of Lola in the New York production, have faded, Black
continues to entrance audiences.  This is one talented lady who knows how
to control a stage.  Her versions of *A Little Brains, a Little Talent* and
*Whatever Lola Wants* were show stoppers.



van Baars, who often comes front and center when Porthouse needs a
character to do shtick, inhabits the role of Mr. Applegate, made famous by
Ray Walston on Broadway, with ease.  While there are times when there could
have been a little more devil-like scheming, as a whole, sported by
hysterically appropriate devilish costumes, he makes us believe the devil
is amongst us.  His *Those Were The Good Old Days* was fun.



As  Joe Hardy, the reinvention of Joe Boyd, boy-next-door handsome Michael
Glavan, is typecast perfect.  He looks and acts baseball jock in an
unassuming and “aw schucks” folksy way.  He has an excellent singing voice,
moves well, and gives a nice texturing to the role.  His *A Man Doesn’t
Know *was charming.



Mary Anne Provost develops a clear character as Boyd’s wife. Lenne Snively
and Lissy Gulick are hoots as two ditzy baseball-addicted fans, Marc Moritz
has some nice moments as Joe Boyd, and Rohn Thomas is believable as the
Senator’s manager.  Each of the chorus of baseball players develops a
unique character, singing and dancing with vigor and ability.



Highlight numbers included:  *The Game*, *Two Lost Souls*, *Shoeless Joe
from Hannibal, MO*, and *Heart*.



John Crawford’s choreography fits the mood of the production.  Jonathan
Swoboda’s musical direction is on target.  His musicians support rather
than drown out the singers.  Ben Needham’s turntable set works well.  Jan
Evans’ costumes, especially those designed for van Baars, help create the
proper mood.



 *CAPSULE JUDGMENT: **DAMN YANKEES is not a great script, but quality
singing and dancing, and a solid cast, headed by MaryAnn Black, Eric
vanBaars and Michael Glavan, create an enjoyable evening of summer
entertainment.*



The show runs until  at Porthouse Theatre, on the grounds of Blossom Music
Center.  For tickets call 330-672-3884 or go online to
www.porthousetheatre.com.



NEXT UP AT PORTHOUSE:  Kander and Ebb’s THE WORLD GOES ROUND, a review-type
show featuring music from CHICAGO, CABARET, FUNNY LADY, and KISS OF THE
SPIDER WOMAN from July 5-21.


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